Big beautiful blues number. It's the blues, who needs the chords?'

Lovely self-depracting piece by Randy Newman. Bonnie Raitt covers this one convincingly.

Red hair and black leather. Richard Thompson discusses women, crime, and motorcycles. I find that you play this with a capo on the 7th fret, in D and it sounds really fine.

Here's how I feel about W's foreign policy. That's Bush, not Ween. Never could come up with a decent tune for it though.

May be offensive to anyone who's never had a gallon of Guiness in a Dublin pub.

The Indigo girls did it first. John Fonesca and Aileen Rourke did it right. Aileen plays with "Thread" in the Oakaland/Berkeley East Bay - check her out if you get the chance.

Don't you love bands who aren't afraid to say what they like? Mouldy Peaches number. Love to get a recording.

Sometimes, you just need the words to this one. Note the line "Sometimes I take a great notion..." was the inspiration for the title to Ken Keasy's Sometimes a Great Notion.

Sinatra? Are you kidding? No, Karen likes to sing this one and I like to play it. Late Rogers and Hart tune; they broke up four years after he wrote it.

Ween holds forth on how to end a marriage.

Genevieve wrote this one. Unfortunately I misplaced her recording.

Tom Waits says it best. I swear he does this one in C, which gives that nice bass run in the beginning , but this G version works pretty well too.

The Counting crows know someone at Virgina and La Loma in North Berkeley. I'll bet the rest of the song's about the university hotel, but I don't really have any basis for that.

Jonathan Richman and the trials of dating

The Cowlicks have a high-and-lonsesome version of the ACDC tune.

Los Tigres Del Norte and a cautionary tale

Los Tigres Del Norte with a Corrido about Kilo packages. These Corridos are beautful expressions of legends of Mexican folk heroes; these Narco-Corridos are currently being surpressed in Mexico and not allowed airplay. Los Tigres are one of the leading bands in this arena.

My dad first played this one for me. Dad lived in New Orleans in the 4o's and 50's and had a lot of blues records. We didn't manage to preserve too many of them, but this one made it through. He always felt that Josh White had the smoothest singing voice of anyone in his era; Josh had that perfect 'pure' pitch. I've played it many times and the song itself has a lot of power, but nothing like hearing Josh sing it.